Vicús gold, like this gold ornament, was often produced from a particular alloy of gold and copper. Known as tumbaga, this alloy was first used in northern Peru by the Moche, but can also be seen in Vicús metal objects. The special blend of metals gives the glittering look of gold without requiring large quantities of that particular metal. The ratio of the metals varied considerably, with some objects containing mostly copper, while others were mostly gold. In some instances silver was also used in the alloy, and three main alloys were produced: a ternary of copper, silver and gold and two binaries of copper and gold or copper and silver. The differing quantities of gold, silver and copper produced a variety of colours as well as sounds when the metal was struck. For the ancient Peruvians it was not the type or purity of the metal used that was important, but the colour of the finished object. The large amount of tumbaga objects demonstrates the symbolic importance of gold and silver, rather than their literal value.¹

This gold nose ornament displays a double-circular, raised ring decoration, which is also found on other Vicús metalwork such as the two gold bracelets (cats 31, 32). The outer edge of the nose piece is encircled in two lines of small raised circular knobs. 
Most of the gold surface of this nose piece is covered in geometric ornamentation, a common Vicús design feature, which has been found with slight variations on this design.²

Embossing or repoussé was used to create this type of design, which would have been traced onto the sheet of gold. This would then be placed onto a soft surface, in some cases leather or sand-filled pillows. Pressure was then applied to the marked areas to produce an indentation on one side. The smiths would work both sides of the metal sheet until the desired design was achieved.³ In the case of this nose ornament, the rings of concentric circles would have been achieved by alternately pressing both sides.

Simeran Maxwell

1. Luisa María Vetta Parodi, Gold of ancient Peru, Lima: Roberto Gheller Doig 2006, pp. 34–35.

2. See Paloma Carcedo de Mufarech (ed.), cats 2 and 58, Inca: Origins and mysteries of the civilisation of gold, Venice: Marsilio 2010.

3. Vetta Parodi, p. 51.

Vicús gold, like this gold ornament, was often produced from a particular alloy of gold and copper. Known as tumbaga, this alloy was first used in northern Peru by the Moche, but can also be seen in Vicús metal objects. The special blend of metals gives the glittering look of gold without requiring large quantities of that particular metal. The ratio of the metals varied considerably, with some objects containing mostly copper, while others were mostly gold. In some instances silver was also used in the alloy, and three main alloys were produced: a ternary of copper, silver and gold and two binaries of copper and gold or copper and silver. The differing quantities of gold, silver and copper produced a variety of colours as well as sounds when the metal was struck. For the ancient Peruvians it was not the type or purity of the metal used that was important, but the colour of the finished object. The large amount of tumbaga objects demonstrates the symbolic importance of gold and silver, rather than their literal value.¹

This gold nose ornament displays a double-circular, raised ring decoration, which is also found on other Vicús metalwork such as the two gold bracelets (cats 31, 32). The outer edge of the nose piece is encircled in two lines of small raised circular knobs. 
Most of the gold surface of this nose piece is covered in geometric ornamentation, a common Vicús design feature, which has been found with slight variations on this design.²

Embossing or repoussé was used to create this type of design, which would have been traced onto the sheet of gold. This would then be placed onto a soft surface, in some cases leather or sand-filled pillows. Pressure was then applied to the marked areas to produce an indentation on one side. The smiths would work both sides of the metal sheet until the desired design was achieved.³ In the case of this nose ornament, the rings of concentric circles would have been achieved by alternately pressing both sides.

Simeran Maxwell

1. Luisa María Vetta Parodi, Gold of ancient Peru, Lima: Roberto Gheller Doig 2006, pp. 34–35.

2. See Paloma Carcedo de Mufarech (ed.), cats 2 and 58, Inca: Origins and mysteries of the civilisation of gold, Venice: Marsilio 2010.

3. Vetta Parodi, p. 51.